from the doing-it-right dept

Techdirt has always been a place where we have discussed new emerging business models for the entertainment industry, including the music business. For far too long, there has been a battle about how musicians should monetize their art, with one side claiming that infinitely reproducable music files should be costly out of respect for the musicians and the labels that produce them, and the other side pointing out that this doesn't make any economic sense and that there are plenty of ways for artists to monetize their work without pretending the internet doesn't exist. Free music has always been at the forefront of this discussion, as some artists have given away music files as a way to make money elsewhere: live concerts, merchandise, etc. Yet, no matter how much money the new models can and do make for those musicians that embrace them, there is a stigma about what is essentially art enjoyed for free. And that stigma is often dressed up as a concern for artists.

Yet that concern must wane as examples of artists making the internet work for them have proliferated. And those examples are no longer relegated to smaller artists with short music lifespans. Recently, Killer Mike and El-P from the exploding hiphop group Run The Jewels were guests on The Daily Show (we can't embed the video because Comedy Central, stupidly and inexplicably, doesn't use HTTPS — but you can view it at that link, or this one for our Canadian readers). While most of that conversation didn't revolve around the music industry, the first few minutes of the interview certainly did and both artists' explanation for why they chose to give away their music should sound quite familiar to Techdirt readers. Here's El-P:

I ran a record label for 10 years back in the day, I ran a record label called Def Jux, and it completely collapsed under the weight of the whole music industry, essentially. People stopped buying and we were based on an old model.

We kind of did the first record just as a thank you to our fans. We were really thankful that we had our solo careers, we had been working together, and we didn't want to go through everything. We didn't want to look at the first week sales, we didn't want to compete, we just wanted to give something away. It just occurred to us, it just felt right. We wanted to get the hearts and minds of people, we didn't want to trick them into buying a record with one single and, you know, we just didn't want to play the game.

We released it and we just gave it to everybody and said "if you like it, support us, and if you don't? That's fair."

What is clearly on display are two artists, one of whom had previously run a record label, that are far more interested in their art and their fans than they are playing the record label business game. Instead, Run The Jewels decided to give their music away for free, while also setting up a way for their fans to support them by buying the music as well, and it is working. Why? Why would young hip hop fans with internet connections choose to pay for music that was otherwise available for free?

Because Killer Mike and El-P connect with their fans on so many levels -- they treat their fans well, don't take themselves too seriously, and have built up a following that enjoys their work. For example, the whole Meow the Jewels effort from a couple years ago fits right in with our increasingly long list of examples artists connecting with fans and giving them a reason to buy. It started with (of course), offering the music for free, combined with a variety of premium packages -- including the "I'm on the List, Asshole" package, in which you get backstage passes to a bunch of shows, and a promise that El-P and Killer Mike will pretend to be friends with you. But El-P also joked about remixing the album with just cat sounds, called "Meow the Jewels." And their fans took them seriously and put together a Kickstarter campaign. The guys originally felt uncomfortable about this, but eventually embraced it with a plan to donate all the music to charity. And, of course, they did, in fact, make the remix, and it's... actually pretty cool.

But it's not all jokes. Both guys are politically active and outspoken, which has helped build an even stronger connection with those who agree with their political leanings. In addition, the group also still makes all kinds of money off of merchandise and concerts, which has always been a key source for musician income. What's missing is a traditional record label siphoning away money for the kind of marketing efforts the band can now do themselves because of the internet and free music -- which enables a two-way path with the fans. It helps the group connect with the fans and deliver them awesome music, while also allowing the fans to support the artists back. No label needed.

Were the stories told by the labels accurate, we shouldn't even know who Run The Jewels and these two artists are, never mind being able to watch them explode onto the scene in the way they have. This is a success story that needs to be bookmarked and used as a rebuttal against those that say music must not be given away for fear of artists failing to make it.

from the because-you're-not,-anymore dept

One of the running themes we discuss here is the difference between gatekeepers and enablers, but there's also a third category that overlaps both of the others to some degree, and is more relevant than ever in a media-saturated world: curators. Though recommendation and matching algorithms are taking on some of the curation roles that humans used to fill (or that didn't exist before), nobody has ever suggested that there's no longer a need for hands-on human curation of media.

When it comes to music, the classic curation role is the radio DJ—but, like so many traditional fixtures of the industry, that role has increasingly (though not universally) drifted away from creative personal curation and towards safe, commercially-dictated playlists. Music blogs and podcasts have stepped in to fill the void, and today the best barometer of what's worth listening to is online, not on the airwaves—especially for those listeners interested in discovering the most compelling acts emerging from small, independent scenes.

Perhaps no genre feels this more acutely than hip-hop, which still enjoys widespread radio play as one of the dominant pop genres of the past decade, but where even the most widely acclaimed indie acts with a decade of rock-solid releases under their belts struggle to get onto DJ playlists. Rapper/producer/indie hip-hop fixture El-P (who dropped by with a guest post earlier this year) recently took to twitter (found via egotripland) and gave a straightforward rundown of why so much of radio is broken and what DJs need to do to fix it. The self-proclaimed "rant" was in response to an New York DJ who was asked why he didn't play underground records that had a lot of audience buzz, and responded by saying "you don’t just get a slot, you earn a slot"—but even without context, El-P's points serve as a perfect summary of what it means to be a curator in the modern music landscape. You can view the full set of tweets on the egotripland post, but I've copied the sum of the text below:

if you're a radio station that doesn't break new great records because they haven't "earned their slot" you might be forgetting the point.

unless of course you are talking payola. then i get it.

not to state the obvious but that's kinda why radio is dying. the internet lets you listen to ANYTHING ANYTIME. its a simple truth.

being the gatekeepers of what people hear only works if they actually have to get by you in order to hear it, and thats just not the case.

therefore in order to be competitive with the new paradigm radio programmers need to re-examine their whole approach or what it all die.

*watch it all die, i mean.

just my 2 cents. fuck do i know.

which is not to say radio has lost its power. but to not see that on the horizon if everything remains on the same path is foolish.

personally i feel like radio dj's should have more autonomy to play what they like/not have to choose from pre approved content. might help.

it certainly would encourage the music to grow if everyone wasn't desperately trying to make jams that they think fit in with that criteria.

and that would lead to more and renewed interest in traditional radio broadcasts, which would lead to more money for everyone.

but hey i come from an era where we had cats like @StretchArmy and bobbito launching the careers of people who go platinum now. im spoiled.

look at whats happened to the newspaper industry. no one wants their news a day later anymore. theres a metaphor in there somewhere.

also there are clearly many amazing stations that do just what im talking about and breed serious listener loyalty.

it ain't like i'm speaking some sort of hidden esoteric knowledge/philosophy here. but its worth bringing up now and again.

anyone way its just the opinion of one man. #fuckdoiactuallyknow

one more thought: music is a representation of human consciousness, and like human consciousness it is expansive and varying.

it wouldn't hurt for everyone to consider their role in the purveyance of that consciousness a little closer.

put simply:ultimately the only thing that should be a deciding factor in radio play is if the dj likes your shit or not. trust who you hire.

if the people consistently dont like what he plays hes by definition a bad dj. you should fire him. but he's the music guy. let him be that.

from the change-of-pace dept

Today, instead of the usual community favorites post, we wanted to take the opportunity to highlight our own top picks for the week. It was an easy choice, because we love it when artists and creators visit the site to speak about their experiences, and this week we were lucky enough to have guest posts from three different musicians. They all had a lot of great stuff to say, and here are a few highlights.

So how do I feel? What's the right way? Fuck if I know. But I'll adapt and I'll do it with respect and class and not kicking and screaming. There's a hell of a lot I could say about both sides of this particular subject, but honestly does it matter? You all have formed your opinions on it already and in the end people like me are still out here trying to make a living no matter what those opinions are... right, wrong or in-between.

Unfortunately the comment thread on that post was hijacked by one particularly obnoxious AC, but amidst the noise there was also a strong response from some community members who were grateful to El-P for sharing his frank and thoughtful opinion, just as we were.

There's a great story about how bamboo grows. A farmer plants a bamboo shoot underground, and waters and tends it for about three years. Nothing grows that's visible, but the farmer trots out there, tending to this invisible thing with a certain amount of faith that things are going to work out. When the bamboo finally appears above ground, it can shoot up to thirty feet in a month. This is like my kickstarter campaign. The numbers aren't shocking to me, not at all. I set the goal for the kickstarter at $100,000 hoping we'd make it quickly, and hoping we'd surpass it by a long-shot.

Incidentally, as I pointed out on Twitter, Amanda Palmer is an anagram for A Mr. Panda Meal. Coincidence?

Now, thanks to the High Court ruling, no aspiring musician will be able to use The Promo Bay to gain exposure in the UK. Once again, the British Phonographic Industry is throttling any channel of distribution which doesn't allow them the cut to which they believe they are entitled. I'd like to see what the BPI's head, Geoff Taylor, has to say to George Barnett, the unsigned British songwriter whose fanbase skyrocketed after being featured on The Promo Bay. The only thing that the BPI has done for George is to entirely prohibit his primary means of exposure.

from the an-artist's-perspective dept

Yesterday, we wrote about El-P (emcee/producer and co-founder of Definitive Jux records) and his positive reaction to the early leak of his upcoming album, Cancer4Cure. El-P showed up in the comments that evening, and after an email exchange this morning he posted this excellent longer reply and invited us to turn it into a guest post. Big thanks to El for getting involved and giving us a clearer picture of his stance on these issues.

First off, thanks to Leigh for emailing me today and thanks to everyone here for your ideas and comments. It's clear he (and all of you) care about this subject. The truth is I really don't fully know how I feel about it all and I'm not sure that I'm smart enough to fully tackle the subject. It's tricky.

All I know is that I believe in operating within the realties that exist now and treating fans with respect within the context of those realties. I don't agree with the draconian and aggressive manner in which the RIAA and others have reacted to those realities and I wont be caught trying to put band aids on cracks in the dam. I'd rather let that bitch flood and build a boat. That said, I cringe a bit when people disregard how tough it is for working musicians to deal with the new paradigm. Cut us some slack. It's all relatively new and we are trying our best to navigate choppy waters.

I want to trust that if people like my music they will support me. My heart tells me that's the case. I also know for a fact that many of the people that say they will support or even genuinely intend to may not, being that they have the finished product (or at least the most important piece of it) in their hands already. It's just common sense.

So how do I feel? What's the right way? Fuck if I know. But I'll adapt and I'll do it with respect and class and not kicking and screaming. There's a hell of a lot I could say about both sides of this particular subject, but honestly does it matter? You all have formed your opinions on it already and in the end people like me are still out here trying to make a living no matter what those opinions are... right, wrong or in-between.

I will say (and this is a portion of what I wrote to Leigh today):

In these debates (no matter what venue) the artist almost always seems to be treated/viewed as a child. Either we don't understand what's good for us, can't control what's happening to us, can't comprehend what's bad for us or we are not wise enough to be grateful for what we are handed. It's a debate that rages on almost exclusively without the input of the artist themselves.

And maybe thats how it needs to be. At the end of the day we are trying to make a living doing what we love and it's on us to determine how we handle it. I'm not sure any artist owes any explanation to anyone about the nuances of that, and I'm not sure anyone else can really understand what it's like as an artist to negotiate all this unless they deal with it in the same way. Everything takes on a different tone when paying your rent enters in to the debate. But don't make the mistake of treating us condescendingly or with pity. I am not "begging" for anything by asking people to support by pre-ordering if they enjoy the record. I'm trying to solidify and encourage the relationship I have with the people who I make the music for in the context of today's reality. Simple as that.

I for one am determined to make the realities of today's music business work for me as best I can. I do not see the point in blaming the fans for a technological (and now cultural) reality that we all are involved in. They are my fans. They are my supporters. I think if I do my job and make something passionate and good then they'll be motivated to engage with me. Between me and them I'm sure we can figure out how to give each other what we need so we can continue to have a relationship. I'm not too worried about it.

For now I think we are finally settling in to a decent place with it all. Of course if my record drops and I don't sell shit I might end up with a bit of a different take on it all. I reserve that right, but I doubt it.

Anyway thanks for reading and thanks for taking the time to talk about all this. I'm going to drink some coffee and eat a bagel now. Also, my cat won't stop meowing.

from the that's-how-it's-done dept

I had a nice moment when I saw this and hesitated to write about it. As we see more and more and more artists (even Metallica!) embrace early leaked copies of their albums, it's getting less and less newsworthy—which is fantastic. Still, I was pleased to see that rapper/producer El-P (one of my personal all-time favorite artists, who I was lucky enough to interview briefly years ago) had a great reaction to the leak of his much-anticipated new album, expressing his support and offering up some reasons to buy:

elephant in the room: i know a lot of yall already got the album. im ok with that. if you enjoy it and can afford to support me doing more music hit up www.definitivejux.net and pre order. there are dope deals on there. love, el

The pre-order packages include some cool, if somewhat basic, extras like signed posters and limited edition colored vinyls. Judging from the reaction in the comments of the Facebook post, plenty of fans have downloaded it but still want the official copy, and some are even vowing to wait for its release rather than listen to the leak. One states that even if he didn't like the new album he would still buy it "as a thank you for your sonic contribution to my life". Now that's what true fandom looks like—and artists who cultivate it don't have to worry about leaks and piracy.